Little is known about Isaac's early life, but it is probable that he was born in Flanders. It is known that he was writing music by the mid 1470s, and the first documentary reference to him is from 1484, when he was court composer at Innsbruck. The following year, he entered the service of Lorenzo de' Medici at Florence, where he was organist, choir master, and teacher to Lorenzo's children; he assumed this post on the death of Antonio Squarcialupi. One of his students in Florence was the future Pope Leo X. In 1494, the Medici were banished from Florence; the era of Savonarola was beginning, and Isaac was left to find employment elsewhere. However, he had married a Florentine and so maintained a household there throughout the remainder of his life.
By 1497, Isaac was in the employ of Emperor Maximilian I. He travelled widely in Germany, and is credited with having a big influence on German composers of the time. In 1502, he returned to Italy, going to Florence and then Ferrara, where he competed with Josquin for employment: a famous letter from the agent of the d'Este family compared the two composers, saying that "Isaac is of a better nature than Josquin, and while it is true that Josquin is a better composer, he only composes when he wants to, and not when asked; Isaac will compose when you want him to."
Isaac returned to Florence in 1514, and died there in 1517.
Isaac composed a wide variety of music, including masses, motets, German and Italian songs and instrumental music. He was one of the most prolific composers of his time, but his work has been largely neglected in favour of Josquin (although the composer Anton Webern wrote his thesis on Isaac). His best known work is probably the lied Innsbruck, ich muss dich lassen, of which he made at least two versions. It is possible, however, that the melody itself is not by Isaac, and only the setting is original. The same melody was later used as the theme for the Lutheran chorale O Welt, ich muss dich lassen, which was the basis of works by Johann Sebastian Bach and Johannes Brahms.
Isaac is held in high regard for his Choralis Constantinus. It is a huge anthology of over 450 chant-based polyphonic motets for the Proper of the Mass. It had its origins in a commission that Isaac received from the Cathedral in Konstanz, Germany in April of 1508 to set many of the Propers unique to the local liturgy. Isaac was in Konstanz because Maximilian had called a meeting of the Reichstag (German Parliament of nobles) there and Isaac was on hand to provide music for the Imperial court chapel choir. After the deaths of both Maximilian and Isaac, Ludwig Senfl, who had been Isaac's pupil as a member of the Imperial court choir, gathered all the Isaac settings of the Proper and placed them into liturgical order for the church year. But the anthology was not published until 1555, after Senfl's death by which time the reforms of the Council of Trent had made many of the texts obsolete. The motets remain some of the finest examples of chant-based Renaissance polyphony in existence.
The influence of Isaac was especially profound in Germany, since he was the first significant master of the Franco-Flemish polyphonic style who both lived there, and whose music was widely distributed there. It was through him that the polyphonic style of the Netherlanders became widely accepted in Germany, making possible the further development of contrapuntal music there.
Innsbruck ich muss dich lassen
Heinrich Isaac Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ich far dohin mein straßen,
In fremde land dohin,
Mein freud ist mir genomen,
Die ich nit weiß bekummen,
Wo ich im elend bin.
Groß leid muß ich jetzt tragen,
Dem liebsten bulen mein.
Ach lieb, nun laß mich armen
Im herzen dein erbarmen,
Daß ich muß von dannen sein.
Mein trost ob allen weiben,
Dein tu ich ewig bleiben,
Stet, treu, der eren frum.
Nun muß dich Got bewaren,
In aller tugent sparen,
Biß das ich wider kumm.
The song "Innsbruck ich muss dich lassen" by Heinrich Isaac is a melancholic farewell song that expresses the feelings of the singer who is leaving Innsbruck, his beloved city, to go on a journey to a foreign land. The song is written as a dialogue between the singer and his lover, whom he calls his "liebsten bulen mein." The singer describes the pain he is going through, having to leave his city and his lover behind. He says that his joy has been taken away from him, and he does not know where he will end up in his misery.
The singer asks his lover for compassion and understanding, to let him remain in her heart even though he cannot be with her. He assures her that he will remain faithful and honorable, and that he will return one day to Innsbruck. The song's final lines are a prayer to God to protect Innsbruck and its people and to guide the singer on his journey.
The song's emotional depth and simplicity have made it a popular and enduring piece of music. It has been covered by numerous artists and has been used in film and television soundtracks. The song is considered a masterpiece of Renaissance vocal music, and it remains a testament to Isaac's ability to create timeless melodies and emotional resonance with his music.
Line by Line Meaning
Insbruck, ich muß dich laßen
Innsbruck, I must leave you
Ich far dohin mein straßen
I must follow my path
In fremde land dohin
To a foreign land I go
Mein freud ist mir genomen
My joy has been taken from me
Die ich nit weiß bekummen
And I don't know where to find it
Wo ich im elend bin
In a state of misery
Groß leid muß ich jetzt tragen
Great sorrow I must bear now
Das ich allein thu klagen
That I must lament alone
Dem liebsten bulen mein
About my dearest love
Ach lieb, nun laß mich armen
Oh love, now leave me poor
Im herzen dein erbarmen
Have mercy on me in your heart
Daß ich muß von dannen sein
As I must be on my way
Mein trost ob allen weiben
My comfort above all women
Dein tu ich ewig bleiben
I will forever remain yours
Stet, treu, der eren frum
Steadfast, loyal, of honorable descent
Nun muß dich Got bewaren
Now may God protect you
In aller tugent sparen
And uphold you in all virtues
Biß das ich wider kumm
Until I return again
Writer(s): Heinrich Isaak, Friedrich Zipp
Contributed by Bentley S. Suggest a correction in the comments below.
@thomasandreassosna9093
Bach soll ja über dieses Lied gesagt haben, dass er es hätte schreiben müssen, wenn es nicht schon geschrieben worden wäre. Und für wahr, egal in welcher Melodie- oder Textfassung, es dringt immer tief in die Seele ein. Wohl eines der schönsten Werke, die je verfasst wurden!
@martinzamoranomusic
Quelle?
@thomasandreassosna9093
@@martinzamoranomusic Keine Ahnung, mir hat das mal ein anderer Kirchenmusiker erzählt, wo er die Behauptung her hatte weiß ich nicht. Deswegen wählte ich ja auch die Formulierung "soll gesagt haben".
@martinzamoranomusic
@@thomasandreassosna9093 alles gut, danke, wär wirklich daran interessiert gewesen! Es werden leider immer wieder viel zu viele viel zu wuchtige angebliche Zitate JSB posthum zugeschrieben und irgendwann weiß man nicht mehr wer dieser großartiger Komponist war. Aber es geht eigentlich um Isaac hier, und ja, es ist ein großartiges Lied einer vergangenen Zeit, das trotzdem sehr aktuell erklingt
@robinnielsen6953
Sehr schoen
@elizabethpardon6010
Oui, plein de charme et de simplicité !
@reginatorquetti6527
Lindíssima!!!! Que delícia de ouvir!!!!
@TamsinJones
Beautifully performed and thank you for sharing. But you might wish to amend your notes - Isaac would have had a bit of a job composing the piece in 1539, having been dead for around 20 years by that time!
@mauriziomarchetto6427
e' UNA MERAVIGLIA CANTARLA A 4 VOCI.
@jameshelgeson4668
It's actually rather earlier, as Isaac died in 1517. But 1539 marks an important publication...